Utwory na płycie:

• Cantata BWV 167/1
• Cantata BWV 167/2
• Cantata BWV 167/3
• Cantata BWV 167/4
• Cantata BWV 167/5
• Cantata BWV 147/1
• Cantata BWV 147/2
• Cantata BWV 147/3
• Cantata BWV 147/4
• Cantata BWV 147/5
• Cantata BWV 147/6
• Cantata BWV 147/7
• Cantata BWV 147/8
• Cantata BWV 147/9
• Cantata BWV 147/10

Cantata BWV 167
Cantata BWV147 'Herz und Mund und Tat und Leben'
Cantata BWV 186
Cantata BWV 136

Johann Sebastian Bach arrived in Leipzig on May 22, 1723. From his tranquil residence in Köthen, he moved to the lively trade fair and university city The Capellmeister now became, as he would later put it, a Cantor. A good week later, on May 30, 1723, Bach performed his first cantata. Sunday after Sunday, holiday after holiday, the Thomaskantor had to perform such pieces alternately in the churches of St. Nicolai and St. Thomas, with the exception of Lent before Easter and the Advent season. At his disposal were the musicians from the 55 St. Thomas students and eight instrumentalists paid by the city. Talented students filled out the ensemble. They often came from far and wide to study, also to take part in Leipzig's important musical tradition. Bach composed the cantatas himself. This was not part of his duties. But it shows the passion and enthusiasm with which he approached his new task he approached his new task. Around sixty of the cantatas performed up to Trinity Sunday 1724 have been preserved: in addition to completely newly composed pieces, there are also pieces from Bach's earlier stations, above all Mühlhausen and Weimar.

Exactly 300 years later, the International Bach Academy Stuttgart is performing all of these cantatas in chronological order. The 23 concerts will take place in Stuttgart and the surrounding area; the improved recordings will be released in this CD series on the Hänssler Classic label. The compilation of the pieces is based on the latest Bach research The ensemble of the Bach Academy, the Gaechinger Cantorey, performs under the direction of Hans-Christoph Rademann. In this case, it comprises the instrumentalists and up to four vocalists per part, all specialists in their field, as Bach wished for his practice. A vision that can only be realized in optimal form today. To this day, the music is intended to encourage devotion, stimulate reflection and delight people. It addresses questions of faith and, not least, serves special situations in life.